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Whether you broke up yesterday or a decade ago, talking to an ex can be a fraught experience. Your pulse might quicken, your breathing might become shallow, you might cry, or feel the urge to punch the nearest wall. Conversely, you might also feel a desire to be physically intimate with your ex again, wondering, “What if…?” And depending on how your ex feels, you might find yourself, at some point in the future, with the opportunity to fulfill that desire.
How To Make Friends By Leveraging Loom
There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.
More Taylor Swift
Swift began songwriting for her fifth studio album in mid-2013 while touring to support Red.[17] For Red's follow-up, she sought to create a "blatant pop" record, departing from her country/pop experimentation. She believed that "if you chase two rabbits, you lose them both".[18] Greatly inspired by 1980s synth-pop,[19] she viewed the 1980s as an experimental period that embraced "endless possibilities" when artists abandoned the generic "drums-guitar-bass-whatever" song structure and experimented with stripped-down synthesizers, drum pads, and overlapped vocals.[13] She took inspiration from the music of artists from the period, such as Peter Gabriel and Annie Lennox, to make a synth-pop record that would convey her thoughts unburdened by heavy instrumentation.[note 4] To ensure a smooth transition to pop, Swift recruited Max Martin and Shellback as major collaborators, in part because of their reputation as the biggest mainstream pop hitmakers at the time.[9] Speaking to the Associated Press in October 2013, Swift described them as "absolute dream collaborators" because they took her ideas in a different direction, which challenged her as a songwriter.[17] Scott Borchetta, president of Swift's then-label Big Machine, was initially skeptical of Swift's decision.[20] He failed to persuade Swift to record "three country songs",[20] and ultimately accepted that Big Machine would not promote the new songs to country radio.[21] Martin and Shellback produced seven of the thirteen tracks on the album's standard edition.[1] Swift credited Martin as co-executive producer because he also recorded and produced her vocals on tracks on which he was uncredited. This solidified Swift's vision of a coherent record rather than a mere "collection of songs".[20] "I Wish You Would" MENU0:00 The snare drums on "I Wish You Would" were inspired by Fine Young Cannibals' 1988 single "She Drives Me Crazy". Problems playing this file? See media help. Another key figure on the album's production team was Jack Antonoff, with whom Swift had worked on the new wave-influenced song "Sweeter than Fiction" for the soundtrack of One Chance (2013).[22] Antonoff co-wrote and co-produced two tracks on the standard edition.[1] The first, "I Wish You Would", stemmed from his experimental sampling of snare drum instrumentation on Fine Young Cannibals' 1988 single "She Drives Me Crazy", one of their mutual favorite songs.[13] Antonoff played his sample to Swift on an iPhone and sent it to her to re-record.[13] The final track is a remix that retains the distinctive snare drums.[23] For "Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane.[24] She sent him a voice memo containing the lyrics roughly 30 minutes later.[18] The song was the first time Swift composed lyrics for an existing instrumental.[25] Antonoff produced one more track for the album's deluxe edition, "You Are in Love".[19]
Taylor Swift
1989 is the fifth studio album by American singer-songwriter Taylor Swift. It was released on October 27, 2014, by Big Machine Records. Following the release of her genre-spanning fourth studio album Red (2012), noted for pop hooks and electronic elements, the media questioned the validity of Swift's status as a country artist. Inspired by 1980s synth-pop to create a record that shifted her sound and image from country to mainstream pop, Swift enlisted Max Martin as co-executive producer, and titled her fifth album after her birth year as a symbolic rebirth of her artistry. The album's synth-pop sound is characterized by heavy synthesizers, programmed drums, and processed backing vocals. Swift wrote the songs inspired by her personal relationships, which had been a trademark of her songwriting. The songs on 1989 express lighthearted perspectives, departing from her previous hostile attitude towards failed romance. Swift and Big Machine promoted the album extensively through product endorsements, television, radio appearances and social media. They pulled 1989 from free streaming services such as Spotify, prompting an industry discourse on the impact of streaming on music sales.[note 3] After the album's release, Swift embarked on the 1989 World Tour, which was the highest-grossing tour of 2015. The album was supported by seven singles, including three US Billboard Hot 100 number ones: "Shake It Off", "Blank Space", and "Bad Blood". Critics praised Swift's songwriting in 1989 for offering emotional engagement that they found uncommon in the mainstream pop scene. Meanwhile, the synth-pop production raised questions regarding Swift's authenticity as a lyricist. The album appeared on several publications' lists of the best albums of the 2010s and featured in Rolling Stone's 2020 revision of their 500 Greatest Albums of All Time. At the 58th Grammy Awards in 2016, 1989 won Album of the Year and Best Pop Vocal Album, making Swift the first female solo artist to win Album of the Year twice.
Hello this is an article
The SDK is designed to manage interactions with database servers whether your app is online or offline. Generally, you should use the value event techniques described above to read data to get notified of updates to the data from the backend. The listener techniques reduce your usage and billing, and are optimized to give your users the best experience as they go online and offline. If you need the data only once, you can use get() to get a snapshot of the data from the database. If for any reason get() is unable to return the server value, the client will probe the local storage cache and return an error if the value is still not found. Unnecessary use of get() can increase use of bandwidth and lead to loss of performance, which can be prevented by using a realtime listener as shown above.
Vulnerable Species
The International Union for Conservation of Nature uses several criteria to enter species in this category. A taxon is Vulnerable when it is not critically endangered or Endangered but is facing a high risk of extinction in the wild in the medium-term future, as defined by any of the following criteria (A to E): A) Population reduction in the form of either of the following: An observed, estimated, inferred or suspected population size reduction of ≥ 50% over the last 10 years or three generations, whichever is the longer, provided the causes of the reduction are clearly reversible AND understood AND ceased.[2] This measurement is based on (and specifying) any of the following: direct observation an index of abundance appropriate for the taxon a decline in area of occupancy, extent of occurrence or quality of habitat actual or potential levels of exploitation the effects of introduced taxa, hybridisation, pathogens, pollutants, competitors or parasites. A reduction of at least 20%, projected or suspected to be met within the next ten years or three generations, whichever is the longer, based on (and specifying) any of (2), (3), (4) or (5) above.
Boa Constrictor
The boa constrictor is a large snake, although it is only modestly sized in comparison to other large snakes, such as the reticulated python, Burmese python, or the occasionally sympatric green anaconda, and can reach lengths from 3 to 13 ft (0.91 to 3.96 m) depending on the locality and the availability of suitable prey.[15] Clear sexual dimorphism is seen in the species, with females generally being larger in both length and girth than males. The usual size of mature female boas is between 7 and 10 ft (2.1 and 3.0 m) whereas males are between 6 and 8 ft (1.8 and 2.4 m).[16] Females commonly exceed 10 ft (3.0 m), particularly in captivity, where lengths up to 12 ft (3.7 m) or even 14 ft (4.3 m) can be seen.[17] The largest documented non-stretched dry skin is deposited at Zoologische Staatssammlung München (ZSM 4961/2012) and measures 14.6 ft (4.45 m) without head.[18] A report of a boa constrictor growing up to 18.5 ft (5.6 m) was later found to be a misidentified green anaconda.[19] The boa constrictor is a heavy-bodied snake, and large specimens can weigh up to 27 kg (60 lb). Females, the larger sex, more commonly weigh 10 to 15 kg (22 to 33 lb).[20] Some specimens of this species can reach or possibly exceed 45 kg (100 lb), although this is not usual.[21]
Western Mexico to El Salvador
Oryzomys couesi is a medium-sized to large rat[125] with coarse fur that is buff to reddish above, becoming paler towards the sides and cheeks and darker on the rump and face. The underparts are white to buff. The fur is shorter, brighter, and more intense in color than in the marsh rice rat. The snout ends bluntly and the moderately large eyes show reddish eyeshine. The small ears are black on the outside and the inside is covered with short, gray to buff or red hairs. The long tail is dark brown above and white to light brown below.[126] The feet are long and stout.[127] On the forefeet, the ungual tufts (tufts of hair on the digits) are present.[128] Many of the pads on the hindfeet are reduced, as are the ungual tufts,[129] and small interdigital webs may be present in at least some specimens.[9] Some of these traits are common adaptations to life in the water in oryzomyines.[130] As in most other oryzomyines, females have eight mammae.[131] Head and body length is 98 to 142 mm (3.9 to 5.6 in), tail length is 107 to 152 mm (4.2 to 6.0 in), hindfoot length is 27 to 33 mm (1.1 to 1.3 in), ear length is 13 to 18 mm (0.51 to 0.71 in), and body mass is 43 to 82 g (1.5 to 2.9 oz).[127] Studies in Texas and El Salvador found that males are slightly larger than females.
Rats!
Oryzomys couesi, also known as Coues's rice rat, is a semiaquatic rodent in the family Cricetidae occurring from southernmost Texas through Mexico and Central America into northwestern Colombia. It is usually found in wet habitats, such as marshes, but also lives in drier forests and shrublands. Weighing about 43 to 82 g (1.5 to 2.9 oz), O. couesi is a medium-sized to large rat. The coarse fur is buff to reddish above and white to buff below. The hindfeet show some specializations for life in the water, such as reduced ungual tufts of hair around the digits. It has 56 chromosomes. There is much geographic variation in size, proportions, color, and skull features. Oryzomys couesi is active during the night and builds nests of vegetation that are suspended among reeds about 1 m (3.3 ft) above the ground. It is an excellent swimmer and dives well, but can also climb in vegetation. An omnivore, it eats both plant and animal food, including seeds and insects. It breeds throughout the year; females give birth to about four young after a pregnancy of 21 to 28 days. The species may be infected by several different parasites and by two hantaviruses. The species was first described in 1877, the first of many related species from the region described until the 1910s. In 1918, Edward Alphonso Goldman consolidated most into the single species Oryzomys couesi and in 1960 Raymond Hall united this taxon with its United States relative, the marsh rice rat (O. palustris), into a single widespread species; subsequently, many related, localized species retained by Goldman were also included in this taxon. After studies of the contact zone in Texas, where O. couesi and the marsh rice rat meet, were published in 1979 and underscored the distinctness of the two, they were again regarded as separate. Since then, some of the peripheral forms of the group, such as Oryzomys antillarum from Jamaica and Oryzomys peninsulae from the Baja California Peninsula, have been reinstated as species. Nevertheless, O. couesi as currently constituted is likely a composite of several species; a 2010 study, using DNA sequence data, found evidence to recognize separate species from the Pacific and eastern sides of the distribution of O. couesi and two additional species from Panama and Costa Rica. Generally, Oryzomys couesi is common and of no conservation concern, and it is even considered a plague species in places, but some populations are threatened.